A book of symbols for Camp fire girls

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A BOOR of SYMBOl^S

FOR

CnnP FIRE ItlRLS

BY

CHARLOTTE V. GULICK
HIITENI)

y

PUBI^I^HEID BY

THE CAMP FIRE OUTFITTING CO

NEAV YORK

1915

THE NEW YOR^

Public library

A?TOR, LENOX AND
TILDEN FOUNDATIONS.

JK" 'inisi^i^ 'dtkrhe^ ni the
Jnfrodiution^. ^ ^

'■■ W

Copvrijjht 1915

by

The Camp Fire Outfitting: Co.

New York

a

INTRODUCTION

" 1 1 you put a storv on vour spoon in vour o\\ n
u av, it liocsn't matter if it is badly done, the fact
that it is indiviilual makes it precious." These
words are (]U()tcd from one of our greatest liv-
ing sculptors, Cnitzon Horglimi.

A personal experience brought the truth of
these words home to me a dozen or more years
ago. 1 was a member of the I'rimitive Arts
Club in Brooklyn, and we gave an exhibition.
We all had iiKule things and several q\ the mem-
bers had beautiful collections ("^f baskets, jewelry,
tapestries, etc., whit I;. they, had been collecting
tor years. , ,«•..... . ...-

I had begun a basket* {.ivWhich^I v/ove the story of
my family. 1 n the true primitive way 1 tohiwhat
was most precious to me in that basket, a drawing
of which is reproduced on the opposite page.
In the center is a five-pointed star, each point
standing for one of my five children. A little
more than half encircling the star is a crescent
representing myself, and outside of that is an-
other crescent partly encircling me and the chil-

dren, representing the husband and father. These
two crescents hold the children in a complete
embrace, but there is an opening between the
crescents so that the children can get out into
the big world. The rim of the basket had not
been made but it was to be a circle representing
the Great Spirit, the father of us all, under whose
care we were and could never escape. One little
point of a star was to be suspended from the rim,
this w^as for a baby boy who had gone from us
and was already with the All-Father.

Other baskets far more beautiful than mine
told stories, too, but no one knew what the stories
were. Reporters came to view our exhibition,
and one of them wrote nearly a column about us,
two-thirds of^jt in<;de^arirbi'ng3i^^ little unfinished
basket. Up" 'to'^^tfia't trme 'F 'had supposed that
stories told in basket^. 'ifici'-^ugs and other things
were interesting^GMily. Because of their primitive
origin. Now at/ciawned'idn.ime that it made no
difference whether I was a woman living out on
the plains untouched by civilization or a col-
lege woman living in a city. The fact that a
story vital to my deepest interests was told was
why people loved my basket.

Gutzon Borglum goes on to say: 'The only
possible reason for ornamenting anything is to
tell a story about that particular thing." He

6

thinks that the sweetness of life is allected by the
inability ol the race to express its emotions in
creative wavs.

This little book (jf symbols has been in process
of making for Hve or six years. For the most
part the symbols have been drawn by Lydia
Bush- Brow II, Jessie Shaw and Clara Hallard,
and are described by Margaret Bradshaw. We
have all had happy times together in working
and thinking them out, and hope that the Camp
Fire Girls will get inspiration from them in
creating their own individual svmbols.

It is not easv for mam grown people to think
out a form to stand for an idea and thcFi arrange
it artisticallv in some craft work. It takes a cer-
tain elemental feeling and simplicity that many
of us lose by too much referring to what others
have done before us. But girls can do it and they
love it. For five years T have seen it done every
summer. The deeper one goes into it the more
one loves it. It is very well worth while thus to
try to put into words or drawings the things we
cherish and love most, for when it is done it helps
us to hold to those things which are best in us.

1. In the Guardian's pin the sun emblem stands
for an undying fire, its twelve rays meaning the twelve
months of the year. The symbol is an Indian one.

2. The crossed logs are the emblem of the Wood
Gatherer. She is gathering the wood of her honors
gained and achievements won to lay them as fuel for
the fire.

3. The Fire Maker adds the flame to her emblem.
She has the spirit of Wohelo and her fuel has kindled
Into fire.

4. The Torch Bearer has also the smoke, that In-
describable overshadowing spirit of love and leader-
ship.

5. On the Wood Gatherer's ring are seven fagots,
representing the seven points of the Camp Fire Law
which she desires to follow, and at either side three
small circles for Work, Health and Love. The mean-
ing is beautifully given in the Wood Gatherer's desire.

6. The word Wohelo is upon the Fire Maker's
bracelet, and at each end is a fire bow. The fire bow
and drill were the Indian's tools for creating fire.
To him it was a gift of the Great Spirit and the fire
bow is the symbol of the gift of the fire of the spirit
of Wohelo.

7. The Torch Bearer's pin has on it four divisions
for the four seasons of the year; in one the sun, in
the second the clouds and lightning. In the third the
pine tree and in the fourth a place to put her Indi-
vidual syrrtbol. The pine tree is the symbol of Camp
Fire Membership and stands for slmDlicity and
strength. The Torch Bearer Is a Camp Fire Leader
all through the four seasons. In sun or storm, and
like the pine tree she Is constant, strong and ever
growing.

SYMBOLS DP THE
ORGANIZATION

CUARDIAH'S PIN
1

WOOD GATHCRCR

y

WOOD
CATHERCRS RING

FIRE HAKCR

6. FIRE MAKER'S
BRACELET

TORCH BEARER

TORCH BEARER'S
PIN

8. In this Wohelo design are the three flames of
Work, Health and Love, and over them the seven
points of the law. The flames are colored blue for
Love in the center, red for Health and yellow for
Work. The whole design is drawn inside the Wo-
helo triangle.

9. The National Life Saving Honor has on it two
hands reaching toward a diamond, an Indian symbol
for person.

10. The National Honors are described in the
manual. There are four grades of honors, the Uta
(effort), Keda (think hard), Shuta (to create), and
Wakan (inspiration). There are also four classifi-
cations of the honors. Photography, Written
Thoughts, Decoration and Song. No. 10, the Uta
honor, represents rays of light entering an eye, the
eye of Beauty. This stands for Photography.

11. The Keda honor has two leaves for Written
Thoughts.

12. The symbol on the Shuta is "an eagle and
eagle's song." This is the Song Honor symbol.

13. The Wakan which is the highest honor, has
on it the threefold flame of Wohelo and the symbol
is the one for Decoration. It is an Indian symbol
for woman's dress and is given for decorations, hand
and craft work of various kinds.

10

f%0%0^

a. WOHCLO

^^m rtm

LIFE SAVING

10

UTA

13
WAKAH

KCOA

SHUTA

NATIONAL HONORS

u

14-17- These symbols show four ways of repre-
senting "The sun kindling the earth." The sun is
a National Camp Fire symbol and is the especial
symbol of the Guardian, and It is through the hearts
of those most closely connected with the work and
responsible for it that the light of Wohelo is to be
passed on to the many Camp Fires as the great Sun
Mother brings light and warmth and life to the earth.
In 14 and 16 the design is drawn inside the Wohelo
triangle, the fire having the three flames of Work,
Health and Love and the sun the seven rays of the
Camp Fire Law. 17 has the three-fold flame with
seven sparks on one side and three on the other,
while 15 has seven sparks on either side of the flame.
The sun has twelve rays as in the Guardian's pin.

12

THE SUN KINDLING FIRE on. EARTH

i:{

1 8. As the name Kim in Indian denotes "To feel
gently," it was given as a Guardian's name with the
symbol of a wide-winged bird. It gives the idea of
protection, soaring high to watch for or ward off
danger.

19. Uda, the Firefly, means giving light and cheer
in the midst of darkness. Quickly disappearing after
flashing its light, it suggests the girl who is interested
in doing little hidden kindnesses without desire of
recognition.

20. Tiamilia, "Little Eagle," is shown with wings
outstretched and song coming from his mouth. The
symbolism of the eagle is "soaring ever higher." An
ambitious girl or one who wished to emphasize her
desire for high ideals might choose this.

u

IS KIA^

TO rCBU GtNTl-V
GUARDIAN'^ SYMBOL*

riR& FLiV

ZO. TIAIVVAL^IA
L-ITVbE. EAGL.&

2 1. For the girl who wishes to dare the air, to
soar above the earth in imagination or reality, the
strongly-spread wings with the three fold pinions of
Work, Health and Love represent Da-so-ak, "Fly-
ing."

2 2. Every girl expects to grow in skill, strength
and love of life. It is so fundamental an expectation
that we rarely give much thought to ourselves to see
whether we are really growing or not. With O-e-ce
ca, "To be a little better each day" as a name, and the
thought of real, definite growth each day in one's
mind, one ought to make a more satisfying progress
with something to show for it now and then. The
symbol shows the growth from a small beginning to
strong wings with which one can fly with poise and
surety.

23-24. The two designs for NIn-ga-guet-sea, "One
who is trying to fly," show a bird trying to raise its
wings from the earth and fly oft into the air. It is
not so easy to try one's wings for the first time or to
keep on trying after one has had a fall or two. As in
learning to skate or ride the bicycle one gets the
wonderful flying feeling only after considerable con-
tact with the hard earth that is sometimes quite pain-
ful. Nevertheless it is decidedly worth while to learn
to use one's wings, and the joy of flying free and
unafraid through the sunlit air or against the storm
winds will more than miake up for the falls. The
diamond shaped figure is an Indian symbol for the
earth, the four corners representing the four winds.

Z1. FL-YING, DA-SO-AK

MIN-GA-GWET-SEA
ONEr V/MO IS TRYING TO FLY

25- The rainbow, Nyoda, over the Thunder Bird,
"Sun after Storm," has always involved a promise of
love and protection. As a symbol of the girl who
always "bobs up serenely" whatever happens, and
gives promise of cheery weather wherever she goes,
this seems wonderfully apt. The Indians thought
the rainbow the soul of the Thunder Bird, which
bloomed in the sky after the death of the storm.

26. Kokokoho, the owl, carries with it the usual
meaning of wisdom, desire for knowledge and a love
for books.

27. One of our most beautifully voiced bird singers
is the white throated sparrow, the Killooleet of the
Indians. Mr. William J. Long has written a most
interesting story of this little bird. A girl with a
great love for birds or for nature, or one who wished
to develop a happy singing nature might take this
as her symbol.

28. The blue bird, Owaissa, is the bird of true
happiness, so often found where we least expect to
find it. One of our poets has said that God loved
the blue bird and colored him after the most beau-
tiful things He had made, a brown breast for the
great earth and a blue back for the wonderful sky.

29. Wa-wa, the wild goose, has been taken by a
girl who loves to excel in the water.

18

5.;>' NYODA, RAINBOVv/

XT. KILUOOLECT
WHITE, THROATED SPARROW

26.
KOKOKOHO

OWLr

XS. OXa/AISSA
BLUEr BIRD

a.*?, wava/a

WILD GOOS&

19

30. Tchlkash, "Little gray forest bird," describes
Itself. Can't you hear It just as the sun Is rising, out
on a joyous mission for breakfast, or at evening
singing a hushed lullaby to the silent listening trees
of the forest? Tchlkash is never obtrusive, a trifle
shy perhaps and illusive but always loveable.

31. Who has not wished many times to go soaring
through the air and swooping down to drift on the
waves with the Ha-gua-dji, sea gulls and petrels.
And yet as Tagore says in one of his songs "We
shrink to give up our life and thus do not plunge
into the great waters of life." We are afraid to soar
and dive into the waters and so miss the great things
that can come in no other way. There is something
tireless about a sea bird, something strong and never
daunted, something daring and something delight*
fully mysterious. The glint of sun on a dazzling
white wing, the defying scream in the teeth of the
storm, the grey-black blur away out in the rain, miles
and miles from shore, are touches that go to make
up a picture of never-failing facinatlon and wonder.
This would make a wonderful symbol.

32. There is a "little bird that flies through the
rain" and it is of close kin to the blue bird if not
that very bird in disguise. Rain or shine that bird
is always on the wing and if you can but catch him
you are sure to be happy inside your heart. The wet
weather never spoils his modest feathers, in fact he
never seems to get wet at all. His name is Ge-me
wun-ac and his wings are Work, Health and Love.
On his tail he carries the seven points of the Camp
Fire Law.

31.

BIRD OF THE SErA
30. TCHIKA5H
LITTLE GRAY FOREST BIRD

02*. GE-ME-V>/UN— AC
BIRO THAT FLIES THROUGH THB RAIN

22,' Singing together does marvels in creating "es
prit de corps," putting hearts as well as voices in
tune, rousing enthusiasms and making life a happy
and joyous thing. The symbol represents two girls
and a winged note, and the name is Shu-in-a-la. This
is a splendid group name.

34. One of the girls in this group might take Wi-
co-can-te-was-te, "my heart sings," as a name.

35. In the Nawadaha, or the symbol for the
singer, are shown the open lips and three notes of
music. The three notes stand for the three watch-
words of Wohelo.

22

33. SHUINAUA
dINGllMG TOGBTH&R

3^. Vsf I- CO-CAN -TC-WASTC
GLADNESS OF HEART, /^Y HEART SINGS

j\

A^A^^

35. NANa/ADAHA
SINGBR

•2.'}

36. These rather comical chipmunks are called
Ayashe by the Indians. They were chosen by a girl
who has made a chipmunk her special pet and tamed
him to be very friendly. She Is very fond of animals
and especially of the wild ones of the forest. The
symbol milght carry with It the desire to be alert
and the acorn suggests provision for the future.

37. Moktat]ues, the rabbit, was adopted by a girl
who wanted to be c]uick and always on the spot when
needed.

38. Aktatcl, which Is the Indian name for friend-
ship, is symbolized by two squirrels eagerly engaged
in conversation.

39. Shingebis, the diver, would be a good design
for an athletic girl interested In water sports.

24

4

36. AYASHC
CHIPMUNK

37 MDKTADUES 36. AKTATCI
RABBIT' FRIENDSHIP

3*7. SHINGEBIS
DIVER

40-41. "As far as the eye can reach," Ista o-hi-ya.
As far as to the purple hills, as far as the stars, Into
the sunlit depths of the limpid waters and into the
grey gloom of the forest, as far as the eye can reach
into the world around and also into one's own life
and the spirit life which is to so many unknown and
unseen. The symbols are of an eye and the curved
line surrounding them signifies "as far is they can

42. "To find oneself," Sha-ku-al, is to have con-
quered one's world, to stand sure and unruffled at
the center of things, seeing clear. To know oneself
is to have command of all one's resources and thus
be able to command others. The symbol is the eye
looking at a person, oneself.

43. "To wake up," A-ma-si-ka, is what many a
girl must do before she can really grow. This some-
times takes a hard knock, but thank the person or
circumstance which gave it and be glad you are
awakened at last. Many a Guardian has the chance
to hasten the awakening of some one of her girls
and she should be happy that the chance is hers and
that she may often make the first hours of awakened
life decide the trend of all that follows. The symbol
is of a wide opened eye.

^o

^1. I-5TA-0-HI-YA
AS PAR AS THE BYE. CAN RBACH

^7.. SHAKUAL^
TO FIND ONCSCLiF

M3. AM-A-5I-KA
AV^AKEN

27

44- Frosty sunrises, gorgeous sunsets and brief
twilights jai a ke the FalHng Leaf moon a wonderful
time to study the sky in its many moods, and espec-
ially so because of the rapidly thinning leaves. One
Gamp Fire group who had been camping during this
moon chose their symbols from the sky with (44)
i\taensie, "Sky Woman," as the Guardian's name,
her symbol the sun. The great open sky with its
limitless depth, holding mysteries of changing light
and cloud, immediately brings forth wonderful and
varied responses from every mind, and the Sun, the
Camp Fire symbol of Light and Spirit, shedding its
warm rays down upon the earth, is the especial mark
of the Guardian. Blue represents Love, and in her
blue sky she placed the sky symbols of her girls, re-
sponding to their many moods and surrounding them
with the freshness and buoyancy of the clear air.

45. For the girl who is just gaining the conscious-
ness of living in every fibre and w^ants above all things
to live to the glorious fullness of life, the Rising Sun,
Anpao, is a beautiful symbol, bringing with it the
meaning of each new day as a wonderful adventure,
full of splendid opportunities and chances to live new
things.

46. It is very likely that the lightning, Tomoke,
may have brought to man the first fire, thus becoming
the direct ancestor of every Camp Fire Girl. The
girl who wants to be a "live wire," always full of
magnetic vitality, might make a great deal of this
symhol. The arrow point on the lightning suggests
that this kind always arrives at some definite end,
not merely expending its strength in empty flashes.

28

o

44

ATAENSIE. SKY- WOMAN
GUARDIAN'^ SYMBOL

ANPAO. BREAK
OF DAY

46. TDMDKE LIC3HTNINd

47- We all wonder at times what foolish custom
demands that we sleep all night and miss the wonders
of the stars and moonlight and silence. The moon,
Tawaklia, with its quiet and far-reaching power over
tide and weather suggests a fixed and controlled will
working quietly and effectively.

48. For an idea of what the Gypsy star meant to
one person, read the story of ''That Symbol" in this
hook. Also see number 5 i .

Among the stars, especial ones mean much to par-
ticular people through association. There are so
many and so wonderful and their "glad and serene
influence on the mind" is so beautiful that it is hard
to single out one or two as more lovely than the rest.
Stevenson says that no one really knows the stars
who has not slept out of doors — "a la belle etoile,"
and 1 believe it is true.

30

<L

47
TAWAKLIA LITTLE HOOM

^8. PETAGA
GVPSY STAR

49- Kewane Alan, the Evening Star, is mellow and
full of romance, while (50) Wikapi Nahon the
morning star, seems full of self dependence and con-
fidence, shining brilliantly long after the others have
disappeared.

51. Petaga, "Coal of Fire," is a good name for
Aldebaran, the gipsy star with its red glow and hints
of nights spent in the open. See No. 48.

52. The Milky Way, Jaswedo, made up of count-
less tiny stars, embraces the whole sky and is a lovely
symbol for the girl who wishes to include the whole
sky and make the myriad little joys of her life into a
continuous path of happiness for others. See 66.

53. With the setting sun, Tinega, comes most
often the Council Fire, so dear to every Camp Fire
Girl, giving to her life some of the same gorgeous
wealth of color and warmth. How the great west
seems to radiate love and protection as we sing

"Good night to thee, sun mother.
We thank thee for thy blessing,
Good night to thee, sun mother.
We thank thee for this day."

■A -2

'^

^<7
KeWANC ALAN
EVENING STAR JLm BbJ 52

JASWCOO. MILKY WAY

mS"

30

Si

WIKAPI NAHDH. PETAGA
MORNING STAR. COAL OP FIRE

53. TIN-EGA. SETTING SUN

54-57- These are four designs for Klloqua, "Lake
of the Great Star." The combination of lake and
its reflection of the starry sky are painted in the
heart of every nature lover and camper and are
symbolic of many things known deep in the heart and
seldom revealed even to dearest friends. It might
mean that one is trying to reflect only the beautiful
in ones' life.

58. It would be as much a pity to try to give an
inelastic description of the meaning of Kinax Gi-
gantic, "Fire coming up out of the sea." To each in-
dividual this has its own peculiar meaning. Of course
it might mean a gorgeous reflection of a phosphor-
escence or a sunrise on the water. Or it might
mean something very mysterious which is known
to your self alone. The symbol shows three
flames arising from the waves, and above are seven
stars. This might be used as a group symbol having
as many names as there are girls who bear it.

34

►04

®.

1^^

LAKE of THE
GREAT STAR
KILOQUA

KiNAV

GCGAH

TIC

^ o ^

(Ai^ity^jjhs

FIRE S&

CDMIHG UP OUT OF THE SEA

59- The girl "In the Red Flame A-i-de-sa-sa has
just surrounded herself with the seven fold flame of
the Camp Fire Law. Perhaps in the red flame she
has caught a fleeting glimpse of some secret which
the fire has been hiding away in its glowing depths,
something she has never told to anyone but treasured
away in her own heart to warm her life and set it
burning.

60. "People of the Place of the Fire," Potawat-
omi, would make a splendid group name and the
symbol has three persons in It, over the place of the
fire which has the crossed logs inside. The space
between the logs and the square should be colored
flame red. We are surely the people of the place of
the fire, with all that carries with it of the love of
the law of the fire and of Wohelo. Think over
"Burn fire, burn." It is the heart of the Potawatomi.

61. "To Sparkle" is another happy symbol. "A
happy man or woman Is a better thing to find than
a five pound note — and their entrance into a room
is as if a candle had been lighted." The symbol for
I-ye-ga Is a star with many sparkling rays.

62. To the girl who is forever called by the lure
of the unknown, the witchery of what Is just beyond
and the indescribable mystery of things the Aurora
Borealis, Shnuya, cannot help but appeal.

^^ X |\ »N THE

A-I-DE-SA-SA / 1 \ RED

FLAME

l-VE-GA

TD
SPARKLE

PEOPLE or THE

PLACE OF

THE

iS.NE Jj^^-^^""^

GZ. SHNUYA. AURORA BOREALIS

37

6^-66 are all night-time names and symbols. (66)
The milky way, Thi-guni-ba, or spirit road has always
been dear to the imagination of primitive peoples
and is still to us. See 52. If our spirits could but
cross by it into the world we speculate about so much
and know of so little, what wonders could we but
tell to our plodding friends here on earth ! The moon
child (6^), Disyadi, can tell beautiful stories too for
she is a spirit child, and the comets (63-64), Ish-
koodah, may be the spirits themselves. How can
we tell!

O.S

63. ISH-KQO-DAH COMET

65. DIS-YA-DI
MODN CHILD

6^.
SAME AS 63

66. THl-GUMl-BA
MILKV WAV OR SPIRIT ROAD

67. On coming home from a wonderful camping
trip in the woods a group of nature-loving girls de-
cided to choose their individual symbols from the
many trees among which they had spent such happy
hours. The Guardian's symbol was the wide-spread-
ing tree, sheltering her group of girls. Under the
branches she put as many little trees as there were
girls. In making her bead-band she used this as the
center figure, grouping about it the symbols chosen
by the various girls.

68. Ansankudi was chosen by one girl because she
loved birds, and birds flock around the Mulberry
tree. Also as the Mulberry leaves are used by the
silk worm in spinning its wonderful gossamer, so she
desired to have her talents used in making more
beautiful the fabric of life.

69. The girl who chose the Maple, Ayan, wove
into her headband the maple of spring, summer and
fall, making one pale green, another deeper green
and the fall one of vivid autumn colors. She selected
the maple because of her love for color, and hoped
that as the sugar maple gives its sap to man she
might turn the flow of her vitality into useful chan-
nels.

70. From the Balsam Fir, Jingob, are gathered
the needles for the sweet smelling balsam pillows, and
its woodsy aroma helps to soothe many a restless
hour. The girl who chose this desired to soothe
those in unrest of mind and body. As the much-loved
Christmas tree, wonderful possibilities of giving and
loving lurk in the branches of the fir.

71. The white birch, Tanpa, holds itself fair and
beautiful, yet with strength to resist the crowding of
other trees. The girl who took this symbol will hold
to her faith to be true under any opposition.

40

mill ■ mill

6r. YA-tE.-WA-NOH

5HE. WHO WATCHES OVER VS

65 AN-SAN-KUDl 6^. AYAN
A^UL^BELRRY A\APL.&

ya.JINGDB 71. TAHPA
FIR BIRCH

41

72; The tall Pine, Osoha, towers high through
snows and suns, unchanging throughout the year. One
girl chose this as the symbol of her aim to be true to
her ideals.

73. The girl who chose the Elm, Ayudi, desires to
spread knowledge, strength and beauty. The wide
spreading Elm is associated with the deep shade of
the village street and college campus, made possible
by our thoughtful forefathers.

74-75. The Oak, Udi or Utu, was selected by an-
other because her aim was to be strong and depend-
able, slowly growing, perhaps, but not easily de-
terred.

76. Ansudi, the Cedar, offers protection to the
birds in winter, and is a restful spot of green upon
which the eye loves to linger. So one girl hopes
to offer a sheltering hand and make of her nature a
happy, joyous thing with which one will love to come
in contact.

77. One of our best-loved native trees is the Pine.
This made a splendid symbol for a girl w*ho wished
to grow normally, straight and tall. The name of
the girl who chose it is Hlewe, meaning winter, and
the figures beneath the trees are snow-shoes. As it
is an evergreen it suggests constancy.

42

72.. OSOHA ^3 AYUDt

TAt^t^ PINE. *^\r<.^

OAK OAK

76. ANSUDl 77. HLBWE.

C&OAR \a/INTE,R

7 8. The girl who chose the Beech tree for her
symbol is an artist, and her name is Owa Manitii,
which means Drawing iViaiden. She chose it because
of its strength, endurance and courage, and its beauty
and joyousness in the autumn when the frost has
turned it to gold.

79. One girl with a sense of humor, who desired to
be far-reaching in her activities, created the Tele-
graph tree, Dutan, (to send). The Telegraph tree
hears much, yet transmits its messages all unfailingly.
A girl just bursting with messages of love and joy to
all the world might take this for her symbol.

80. The Holly, Psuti, was the symbol of a girl
who desired to be a bright spot in places devoid of
beauty and cheer. Just as the Holly is at its gayest
when other trees are bare, so she will aim to put hap-
piness in places of sorrow as well as add gaiety to
festive occasions.

81. Ohsweda was chosen by another. The
branches and twigs of the Spruce are surrounded by
a bodyguard of needles and any girl might hope to
train herself to be thus equipped to meet all of life's
emergencies.

82. The swift-growing Poplar, Tude, was its
merry, twinkling leaves, was taken by a little girl who
was growing very fast and simply bubbling over with
fun. Her aim was to grow stately like the Lom-
bardy, and yet retain her cherriness.

u

vs. OWA MANITU
DRAWING MAIDCN

7^. DUXAN 30. PSUTl
Tn SGMD HOL.UV

at. OHSV/CDA 5ZJTUDE

SPIRIT DF HTHE POPLAR

spruce:

83. Kewatewa, the Bullrush, rises up from the
earth through the water and Into the air. It makes
one think of upward growth and attainment through
all sorts of fortune. It also indicates a rare intimacy
with the life of the earth, the water and the air.

84. The Buttercup, Wadmusuda, is a good symbol
of the hardy life, and the lavish sunshine of a happy
disposition. It also stands for the watchword of the
Camp Fire Girls, Wohelo. The roots, creeping
down deep into the soil to support and nourish the
plant, stand for Work; as one of the brightest and
hardiest of our wild flowers it surely stands for
Health; and the widespread profusion of its bright
blossoms, for the love of the All-Father who has
given them to us.

85. In the Rose Flower, Aneah, one sees a love of
the beautiful. As its thorns are forgotten in the
sweetness and fragrance of the flower, so it expresses
a hope that the thorny side of existence may be for-
gotten in the beauty that surrounds us on every side.

86. Pipsissewa, which is also Its English name In
some localities, is a beautiful flower found in the New
England woods in the springtime. Love of nature
and beauty, and a delicate sensitive spirit are some
of the qualities one sees in it.

87. The three-leaved Clover, Lexse, is quite ob-
viously a Wohelo plant, the three leaves standing for
Work, Health and Love. It scents the summer air
for us with delicious perfume, carpets the ground
with a cool, soft blanket, and is loved by the animals.
Really, it is one of our most abundant, beautiful and
usetul flowers.

46

53. KE\A/AT&V\fA
BULrURUSH

S^. 35.

WAKMUSUDA AHNE.AH

BUTTERCUP ROSE. FLOWER

56. 87

PIP3l55ErWA L-EX6S

BEAUTIPULr FLOWER CLOVE.R

47

88. To hew about one bravely and clear away the
thickets that hem one in and choke up the path is a
necessity and a joy. Every girl has thickets, and
pretty dense ones, too. Sometimes they are inside
herself, and she must chop away, although it seems
as if three branches grew up for each one she cut
down. Sometimes the thickets are home ones, and
sometimes they are thickets of circumstances that
must be hewn through and overcome. At any rate,
the girl who takes Alibamu for a name will be strong
and doughty and things will happen when she gets
to fighting her way through her thickets. It is worth
while to remember, too, that unless something is
planted in the place of the thickets they are likely to
grow up again.

89. "In the midst of the forest," Na-wa-kwa, in
the silence and solitude of the depths of the woods
is the place where nature and the "Holder of the
mysteries" are most likely to tell their secrets, espe-
cially if one is alone at night and has a tiny fire.

90. Calm and shady places are as welcome as the
sunny ones. These twentieth century days are so tur-
bulent and hurried, and so ablaze with dazzling
flashes of light that any Dib-i-na-wa will be as wel-
come as the rain after a burning drought.

48

55 AL.IB-AMU
I Ct^CAR THE THICKET

3^. NA-WA-KWA
IN THE MIDST OP THE FOREST

VO. DA-BI-NA-WA
CALM AND SHADY PLACES

4'.»

91. Yallani, the mountain, represents the life that
pierces through the clouds and mists that surround
the material level of existence and reaches up into the
permanent sunshine. Steadfast Yallani is another
good antidote for an overdose of modernism.

92. What more wonderful symbol could one have
than "Earth in Spring," Clat Seyi. Spring, a thou-
sand ages old yet forever new and alluring. "The
pipes of Pan sing never so sweetly as in spring." All
earth is akin to man and makes him feel it. Life
is rampant and the warm blood tingles in one's
veins with the itch to do and know and live.

93-94. To ascend unseen by others, Gau-lap-ka, is
not so easy as to climb, cheered on by the encouraging
words and looks of many onlookers. It means quiet,
persistent training of oneself and trust in oneself,
discouragement borne alone in secrecy and a greater
triumph in the end. It gives, too, a possibility of
helping others along the same road that never could
have come if one had been boosted over all the
rough places. Figure 93 shows a Camp Fire Girl at
the top of the Camp Fire pine tree, underneath which
are two little girls blindfolded so that they cannot
see her climb. In 94 the girl is ascending the moun-
tain in a cloud and so is unseen by her friends at the
foot.

95. To be above, A-kan-ta, is to gain a perspective
of things in relation to one another, of the mean-
ings of things which are so hard to get when im-
mersed in the hurry and hubbub of life. It is also
to be unmoved by little pettinesses, and misfortunes,
keeping calm and serene in the higher air where the
light Is always clear. The design shows a mountain
peak rising above the clouds Into the sunlight.

96. Much the same meaning Is Involved In Pa-
hata. On the hill.

50

ELAT-SEYI
*71. YALLANI EARTH IN

MOUNTAIN SPRING

13. GA-LAP-KA TO ASCEND
UNSEEN BY OTHERS

fly. A-KAN^TA „. „. ^. _.
ABOVE ^^ PA-HA-TA

97- Facing the Wind, Ki-mon hon, might be the
name of a girl in a group taking the name "The hill
of the winds," No-do-ne-yo (98), with its hint of
glorious outdoors and freedom of the open air.
There is something so soul cleansing and satisfying
in facing a clean, strong wind and something brave
about it, too, when the wind is cutting and cold. For
a group symbol the curling wind clouds of the sym-
bol might be repeated to equal the number of girls
in the group.

99 and 100. Wind, Ta-te, and Northwest Wind,
Che-ke-su, might belong to this group, too. Wind
is the breath of the Great Spirit and the whisperer
of many messages from the Great Tyee.

FACING
THE
WIND

KI-MDM-HDN

HILU
or THE
WINDS

^S. ND-DD-NE-YO

iDD.
CHE-KE-SU.

NORTHWEST WIND

10 1- 1 02- 1 03. To swim against wind and current,
Ta-to-ke-ki-ya, takes all one's strength and courage.
There are as many kinds of winds and currents in
life as there are thickets to be hewn down and the
winds and currents are more malicious and dangerous
than any thicket. The girl who wishes to be strong
to go ahead, whatever the difficulties arrayed against
her, should get satisfaction from this symbol. In
loi the diagonal lines running upward represent the
current in the stream while the black and white lined
figures are fish. 102 shows a little sail boat sail-
ing right into the whirl of wind and against the
waves, while in 103 a person is swimming up the
stream at the top of which are fierce wind clouds.

104. Of all the sky moods, none are more fas-
cinating than the cloudy ones. The beauty of the
storm, the cool, refreshing rain, so necessary to
growth, the preservation of life and the prevention
of forest fires, make the Cloud Symbol, Yoki, an
appealing one. Then, too, every Camp Fire Girl
believes in being prepared for all weathers and knows
there is no such thing as bad weather if one is dressed
properly.

105. Anchor, Wi-spi-ya. In these days of rapid
change, when nothing seems stable and endurable,
someone to anchor to Is worth a wealth of gold. The
girl who can keep her own boat anchored securely
among the troubled waters will afford an anchorage
to many more boats than she will ever realize.

."4

IQl. TA-TO-HE-KJ-YA

AGAINST WIND AND CURRENT

102. THE SAME
AS 101

k^VJ

1D^. YOKI
RAIN CLOUD

103. THE SAME
AS 101

1D5.WI-SPE-YA
ANCHOR

io6. Any one who has ever watched the ease,
grace and marvelous giving up of themselves to the
water, will feel that "To float along like water birds"
— Tchewa — would be to combine the charming grace
and ease, the satisfying poise and lack of fuss and
worry that we instinctively accord to the idea of "a
perfect hostess." Camp Fire Girls are to be the
most perfect hostesses known, and these are some
of the secrets they are going to learn and teach
others.

107. Wa-tan-opa, "to embark" from the flowery
shore into the waves ahead, "to launch out into the
deep," is the only way we can grow strong and fear-
less, the only way we can reallv grow at all. This
girl has the sun on her sail to keep her path clear
as she forges ahead, and keep her happy however
disconcertingly the winds toss her about.

108. I-ha-ha, "To bubble, laugh and curl along as
a stream," is a jolly name and the symbol shows the
bubbles and waves while underneath these are some
smiles. To keep happy oneself is to make all the
people around happy. Stevenson says that "there
is no duty we so much underrate as the duty of being
happy. By being happy we sow anonymous benefits
upon the world, which remain unknown even to
ourselves, or when thev are disclosed surprise no-
body so much as the benefactor. "The laughing
stream does a lot of unnoticed work, too. It is
always at work on its surroundings, making them suit
its needs. Then, too, it is on the way to join the
great river where it will gladly give up its own pe-
culiarities and limits to become a part of the greater
life.

56

106. TCHEWA
TO FLOAT ALONG LIKE
WATER BIRDS

107. WA-TAN-DPA
TO EMBARK

1D3. I-HA-HA
BUBBLE, CURL. AND L.AUGH
ALONG AS A STREAM

log. The following few symbols are busy ones
and "glorify work." Spe, "skillful," has the design
of the five finger tips and the diamond, the Indian
symbol for person. These might be worked out In
the various colors of the crafts showing that one
sought skill In all lines, leaving the diamond the color
of the craft In which one Is most skillful perhaps.

no. For Aguyapl, "Loaf Giver," the symbol
shows a girl looking Into the oven In which her loaves
are baking. This would be good for the girl who Is
fond of cooking and entertaining and especially ap-
propriate for a mother. She Is the one who Is con-
tinually giving loaves of comfort, encouragement and
love as well as the loaves of bread for physical nour-
ishment.

111. Hywesus, "the Seeker of History," has a
double pair of steps from the top of which one may
look both forward Into the future and back into the
past. Any girl who Is particularly Interested In his-
tory or has helped keep the count for her Camp Fire
might put this design Into her headband.

1 12. The mythical bird, a very old Indian design,
seems fitting for the symbol of the Inventor, Toan-
doah, growing as it did out of the imagination of
some Indian Inventor of symbols for Unseen Things.

58

10<I. SPE

no. AGUVAPI
LOAP GIVER

111. HYWESUS 112. TDANDDAH
SEEKER of HISTORY. INVENTOR

113. The quill, Migwan, and the inkwell suggest
the writer or pen artist, and the figure between the
two. is an Indian symbol for thought. To express
one's best thought and to make common things more
interesting by bringing to light the beautiful mean-
ing one sees hidden there, is one of the rare gfits
the writer or artist can give to the world.

114. Ganeshaho, "Bearer of the Law," with its
seven points, is about the busiest symbol of all, for
one can certainly keep occupied in seeking beauty,
giving service, pursuing knowledge, holding to
health and at the same time keeping happy and
glorifying all this endeavor.

115. The Apron, Akalipi, may be a heavy car-
penter's apron, a dauby painting apron or an oil-
cloth chemistry one, or it may be the household kind.
The apron is to keep one clean and sweet and nothing
keeps body and mind cleaner and sweeter than lots
of joyous home work with love behind it.

116. With the Scissors, Mojwagan, is a spool of
thread. This naturally makes one think of all kinds
of home and craft work.

60

113. MIGWAN
OUtUU

H^tl

114. CANCSHAHO 11^. AKALIPI
BEARCR OF THE APRDH

LAW

116. MD-dWA-GAN
SCISSORS

1 1 7- Tamakwa, the beaver, suggests Industry and
the design is taken from an Indian symbol for beaver
dam.

1 1 8. The design for Okpe, "to Assist," shows a
star surrounded by figures. These represent the
girl in her home with the members of the family about
her. The number of these may be varied to fit one's
family, and the background for it might be yellow as
this stands for happiness and work.

119. Mnanka, ''I weave," has the Spider for a
symbol. What lovely things this makes one think
of, rugs and fabrics growing under the fingers in the
loom, stories woven out of dream stuff or mystic
charms woven by the fancy about the daily drudgery
of life.

120. Is the water your greatest joy? Here is a
Canoe, Ganouh, suggesting all kinds of water sports,
trips and out of door life. Perhaps you are a girl
who likes to "paddle her own canoe," but remember
how easily one may be upset and that ballast is needed
to give steadiness in rough weather. Even a bow
paddler is sometimes a lucky thing to have. Moth-
ers make excellent bow paddlers and big brothers
are fine for ballast.

62

117. TAMAKWA

BEAVER

na. QKPE 11^. MHANKA

TO ASSIST I WEAVE

12.0. GANOUH
CANOE

i\:\

121. In the design for "Doing difficult things
well," Wa-han-ka, there are many sharp points repre-
senting the difficult things that one is to do.

122. To apply oneself intensely is to succeed.
We are too apt to do many things half well or at
least with scant attention nowadays. And then we
wonder that we can do nothing really well. To ap-
ply ourselves intensely is sure to pay us back with good
interest and we are not likely to regret either the
time or the trouble. A-can-can is the Indian name.

1 23. This is a bee, Tu-ma-ga, on a section of honey
comb and beside it (124) is an Ant Hill, Ki-mad-
sham, with the busy ants swarming all over it. In-
side there are seven grains of wheat. Both these
are symbols full of activity, accomplishment, and re-
markable genius for co-operation.

125. "One who makes others think," Wa-a-wa-
chin-yan, is another good Guardian's symbol. To be
able to make the Camp Fire Girls of America think
will be to waken the whole world. The woman in
the symbol has upon her head the sign of inspira-
tion and thought, and she is reaching out to a per-
son (diamond) on either side. Above each per-
son are two thought symbols.

126. "To be able to accomplish," O-ki-hi, is to
lead a most satisfying existence. It is the great in-
spiration of effort and the reward as well. There
is nothing which gives more poise in life or greater
helpfulness or more joy than to be able to accom-
plish things.

04

A-CAH-CAN

22

WA-HAN-KA DO APPLY

DIFFICULT THINGS ONESELF INTEN-

/\^^^ WELL

KI-MAD-SHAM
ANT HILL

12.3

TU-WA-GA. BEE

WA-A-WA-
CMIM-VAN
DHE WHO
HAKES
OTHERS
THINK.
TO BE ABLE TO ACCOMPLISH

127. Kaguntuk's symbol was taken from the Pat-
tern of her Indian blanket under which she has spent
so many wonderful nights beneath the open sky. The
two stars represent the "Love of man for man", and
the "Love of man for God" (from the Fire Maker's
desire). The rest of the design signifies that she
aims steadily ahead even though she wanders pretty
far afield at times.

128. Anteshema, which is an Indian name for
wishbone, might be chosen by a girl who wished to
bring good fortune to all those about her.

129. Ista, the eye, is a star symbol.

130. The symbol of the kettle and spoons was
taken by a girl who wished to become a home-maker
and a good cook. The name Kuchera means spoon.

66

127 KAEUNTUK
WOMAN UNDER A BL.ANKCT

123. ANTESHCMA 127. ISTA

WISH bone: eye

130. KUCHCRA
SPDOH

(•.7

iji. See 1 18.

132. The symbol for "to carry a burden," Met-
kla, shows a girl with a great burden on her head,
and 133, A-kl-yu-hapl, two girls sharing the burden
between them. See 136.

134. "To open the door for someone," Ki-yu-gan,
has one girl opening the door for another. This is
full of significance for the Guardian, for no one
more than she has the chance to open the closed
doors of nature, romance, beauty, health, happiness
and love to the girls who are waiting to enter.

135. "To hang on to," Luta, has two hands
clinging tenaciously to a bar.

68

HASHAT-UAYA

131

TO ASSIST GACH JHik 132
OTHER METKLA.TO

CARRY

BURDEN

133
AKIYUHAPt.TO TARRY TOGETHER

KIYUGAN.TO OPEN for SOMEONE

MUMiK

135
LUTA.TO HANG ON OR STICK TO

G'J

136. "As the creeper that girdles the tree trunk,

The law runneth forward and back;
The strength of the pack is the wolf,

And the strength of the wolf is the pack."
The spirit of the pack, or in more modern terms
the "group spirit" is undoubtedly the equipment most
necessary to woman in this age of her growing power
and independance. Men from earliest ages have
lived and fought for the clan, tribe or nation, but
woman has still in great measure to learn the value of
team play and group activity. She has to gain that
ability to join heartily into the plans decided upon
by the majority, all petty personal preferences forgot-
ten, and to work for the best interests of the group.
The following symbols are based on this idea and
portray different phases of group activity. In all
group activity and especially in Camp Fire, we must
"carry together," A-ki-yu-ha-pi. Each should have
her part to do, her share of the responsibility. See

137. "To live together," Wi-ta-wentin, has for
its symbol a group in the tepee lodge. In living to-
gether each has some contribution to make and must
give of herself to make the life complete yet at the
same time mingling her life with the rest and accept-
ing gladly their majority opinion.

138. The tents In the Wohelo triangle represent
a camp, Ga-be-shl-win, the tents standing for Work,
Health and Love.

139. "To show the road," A-la-hl, would make a
splendid Guardian's name. To point out the "road to
follow" and Interpret the blazes along the trail of
life. The symbol Is that of a pine tree with a blaze
upon It, and the Indian symbol for path.

70

136. A-KI-YU-HA-PI
CARRY TOGETHER

A A

137 — ^^^^^^158
UIT-A-UENTIN EA-BE-SMI-WIN
LIVE TOGETHER CAMP

^mm

aDDDD

13?. A-LA-HI
TD SHOW OR POINT OUT

71

140. "Singing together" (No. 33) does marvels
in creating "esprit de corps." It is, however, indis-
solubly bound up with "hearkening to each other,"
A-na-ki-ci-go-ptan-yan, for true harmony and concord
in all life, as in singing, comes only by each one listen-
ing to all the rest.

141. A-ki-psa-ya, has hand linked to hand for a
symbol. "To live close together," heart intimate,
with perfect trust and confidence is one of the mir-
acles wrought in community life.

142. To be "stilly or silently for," A-i-ni-na, night
and day, as quiet and as irresistible as is the silent
undercurrent of nature's forces, not saying much
but always and forever "for" the group and its ideals
is one of the greatest elements of team work.

143. Lewa, "to play the game to the end," in-
volves that invincible spirit of team play where each
individual is working not for herself but for the
team, to win the game at all costs. Basket-ball is
one of our most highly developed team games for
girls and the symbol shows the ball in the basket.
Reside it is a yellow square to indicate that the game
was played cheerfully and "on the square."

72

Ite,g^

1^0. AMAKtCI GOPTANYAN
HCARKETNIHG TO EACH OTHER

1^1 AKIPSAYA mZ. A-I-NI-NA
CLOSE TOGETHER. STILLY OR

SILENTUV FOR

h

^

1^3. LEWA
TO PLAY THE GAME TD THE END

144-145- "To encircle with the arms," A-o-ki-be,
suggests care of the younger and weaker members,
perhaps a Blue Bird nest, while Ana-ki-ksin, "to ex-
pose oneself for another," suggests physical protec-
tion. In the symbol, i Is the protector, 2 the one
needing protection, 3 the wind, 4 the water and 5 fire.

146. For Shu-tan-ka, "to meet in council to-
gether," there is an Arapho symbol for council fire.

147. "To stand with," Ah-na-han, makes one think
of the great forest, roots mingling, drinking in the
same life; trunks rising side by side, steadfast in
growth; while above in the clear air the branches
and interwoven leaves dance In the sunny breezes.
The symbol Is Arapaho and represents two persons
so leaning against and supporting each other that
If one fall the other must also. We are all group
beings and whatever we do must affect others. To-
day more than ever we are realizing our interdepen-
dence and that no man or group liveth to itself alone.

148. "Banded together for a purpose," A-o-ki-ya,
brings in the welcoming of the wider responsibilities
of town and school Interests, that larger home circle
where woman's help and natural training must prove
invaluable.

74

m^

WXAXWv'V-

Qkit}i

AOKIBC
CMCIRCLC
WITH THE
ARMS

l^y. AHAKIKSIN
TO CXPOSE one's
SCt^P FOR ANOTHER

mG. SHUTANKA 1^7. ANN AH AN
MEET IN COUNCIL TO STAND
TOGETHER WITH

I^S. ADKIVA. TD BAND
TOGETHER PDR A PURPOSE

JL ^ ^ ^

REFERENCES

American Museum of Natural History. 1904, July.
Vol. 4. No. 2. N. Y. "Guide leaflet to
Primitive Art."

Bureau of American Ethnology, Washington, D. C.

Annual Reports, 1888-9. No. 10 (Out of print)
Picture Writing.
1882-3 No. 4 (Out of print)

Picture Writing.
1889-90. No. II. (Out of
print). Symbols and pic-
tures.
" 1895-6. No. 17. (Out of print)

Symbolic Count.
" 1 900-1. No. 22. Reprint 1904.

Fewkes, J. "Two Summers' Work in the Pueblo
Ruins." Colored illustrations of designs and
symbols. Very good.

Curtis, Natalie. "The Indians' Book." Harper
Bros., N. Y. 1907. $7.00. Stories, songs and
drawings from many tribes. Splendid.

Jessup, Mrs. M. K. "The Arapaho." American
Museum of Natural History. 1902. Vol. 18.
Symbols and drawings interpreted. Best work
for study. (Out of print.)

76

ARAPAHO SYMBOLISM.

1. PERSON

3. WOMAN

PERSON
STANDING

THOUGHT

6. EYE

77

^

V SUNRISG 8. STAR

+

9. STAR

MORNING
STARS

78

10. STAR

13. MOUNTAIN

1^. TREES ON
MOUNTAIN

i ^i

15.

EARTH

AT ITS

FIRST EMERGENCE

16. PATH WITH
TRACKS

17. TENT

18. TE>4T

79

W. RIVER WITH ISLANDS

22. ROCKS

23. ROCKS

80

OTHER INDIAN SYMBOLS

ZG. 2,7. 2.8.

CORN-STALK. YOUNG CORN-SHODTS. CORN.
SOUTHWESTERN INDIANS. HAVAUO.

81

THE GYPSY STAR

•THAT SYMBOL"

By Margaret Bradshaw

(Reprinted from JVohelo)

"Oh, dear!" Miss Gray said, as she stared blankly out of
the study hall window to the school yard below, "Here I am
Guardian of a Camp Fire and can't do the first thing — make
a symbol. What shall I do? My head is a perfect blank,"
She turned as though to straighten her desk, but paused again
to reflect. "Iv'e chosen the name Petaga, meaning 'a coal
of fire.' That was easy. I always did want to have a hand
at choosing my own name, but this symbol! — I can't draw
one. If I could get something simple and artistic, I'd mark
my things with it, use it for a book plate, and stencil those
new curtains with it. No — those things could wait ; but I've
got to have a bead-band and a ceremonial dress inside of a
month. Some of my girls are nearly done with theirs already.
I once dreamed that I had some imagination and ingenuity,

82

but I was tooled, horn'hly fooled. My commercial side says,
'Ad\ertise.' Well, w h\ not?"

W^hereupon she turned to her desk and scribbled vigorously,
and when she left, there was a notice on the hij^h school
bulletin board stating that Miss Gray offered two dollars
to aiiNone who would make a symbolic design to represent
Petaga, meanin;z a "coal of iire."

On her wa\ home she was still troubled. Probably no one
in school would care to try. On afterthought, her advertise-
ment sounded foolish, and she wished she had not been in
such a hurry. She would get to school early in the morning
and take the offensive thing down before it was seen. The
thought left her feeling cross and out of sorts.

Looking in the store windows as she went along the main
thoroughfare, she noticed a little Arts and Crafts store. In
the windows were some stencilled pillows, a carved woodblock
for printing and some leather book covers. Without stop-
ping to think, she opened tlie door and strode defiantly to
the counter.

"Do you ever design things for ignorant people?" she
demanded, desperation in her tone. Then she noticed that
the girl she was talking to was little and pale, and that her

CURTAIN

soul seemed to look out of her eyes as If it were hungry.
She felt that she had been brutally abrupt.

"You see," she said, half apologizing, "I'm a Camp Fire
Guardian, and have to have a symbol. My Camp Fire name
is Petaga, which means 'coal of fire.' I love the gleaming
coals of the camp fire. I'm a born gypsy, and a fire under
the stars is the greatest joy of my life. Do you think you
could put that into a design ? I just must have a symbol
which I can use on my ceremonial dress and perhaps for a
book plate. I despise plain initialed things, and should like
to mark my things with my symbol. Could you possibly
make me one? I'll pay you almost anything."

Then she stopped, and fully expected the pale girl to say,
"Begone! you're raving." But she didn't. She looked with
real Interest on the distraught visitor. She said she'd love
to try. She couldn't promise what the result would be, but
she would really enjoy working at something with a mean-
ing, and she liked the idea of the fire under the stars. Miss
Gray turned away feeling that the girl could do it. Life
seemed again worth while and she even forgot the wretched
advertisement. Just as she was going out of the door she
looked back. The girl seemed paler and smaller than ever.

"By the way," she said, "do you know anything about
the Camp Fire Girls? You ought to, you know. I'm going

84

to leave you my Camp Fire manual. I think it will interest
>ou."

"The child looks far from strong," she thought as she went
along. "Camp Fire is just wliat she needs. I wonder if
she would join our group."

The next morning she was later than usual at school, and
in her hurry to get to her session room she forgot the adver-
tisement. It was not until Helen, one of the senior girls,
came to her desk and mentioned that "ad" that she thought
of it again. And then she gasped.

"Oh dear!" she said, "I meant to take that down this
morning. I've found some one to work out my symbol."

Helen's face fell. "I had hoped that I might try to draw
your design, for I need the money," she said. "I'm sorry."

Miss Gray remembered the splendid work the girl had
done for the school magazine. She was artistic, a girl of
"temperament," as the boys said to tease her. Besides she
could use all the symbols she could get. So she consented
to let Helen try her hand at it, too,

As soon as the study period was over. Miss Gray made
straight for the bulletin board to take down her advertise-
ment. She found the drawing teacher. Miss Henry, scanning
the line she had scribbled so hastily the evening before.

"I've got a simply corking idea in my brain this minute,''
Miss Henry said, enthusiastically. "I don't desire recom-
pense for it, because if I don't work it off soon, I shall
die of mental indigestion. The symbol will be found in-
delibly printed on my brain at the post-mortem. Just look
at this." She pulled out a pad and quickly sketched a design.
It was the sun, a burning coal of fire, pouring down its
light to set glowing the three fires of work, health and love
below.

85

**I think it will make a stunning border or even a large
central design for a pillow cover," she said, holding her
design off and squinting a little at it with true artistic instinct.

"It certainly is great, and of course I can use it," Miss
Gray answered, "Henny, you're a wonder. Give it to me
this minute."

"You know," Miss Henry said, as they separated, "the
average drawing teacher gets so sick of potatoes, apples, berry
boxes, ginger jars and woodbine, she feels as if she were
becoming fossilized. To express an idea is the chance of a
lifetime."

As she passed out of the schoolhouse on her way home, Helen
caught up with her and showed her a sketch she had made.
On a page of her physics note-book she had blocked out the
dsign of a blue flame, rising from a bed of glowing coals.

"You always remind me of a coal of fire," she said, "and
there's something about you, something elusive and fascin-
ating, and — I don't know just what, but it's just like the
blue flames that hover over a bed of coals. Now you see
them here, now over there, but always somewhere. I don't
know whether you can use the design or not, but I've had lots
of fun doing it, anyway."

The teacher laughed at Helen's characterization, said she
liked the idea, and thanked her very much. Then she
turned instinctively toward the Arts and Crafts store. She
liked the sun and the blue flame, but she wanted something
else, something nearer to her life, and she felt that she should
find it there if anywhere.

"Well?" she said cheerfully, as she went in, "I'm in a
nicer mood to-day. What luck ?"

"I think I have found the symbol you want," the girl
answered. "I'm a born gypsy, too, and I have always loved
the red gypsy star, Aldebaran. It seems liJce a coal of fire in
the sky, and somehow warms my soul. Fire is warm and
intimate, and the star is fire, but more remote. To me the

8G

star brings the siiLi;<j;t'sti()ii of reaching up to somctliing high
and WDiulcrful."

"Oh, that's just perfect," tlic Guardian exclaimed. "That's
just what I've wanted and coulchi't express. I.ct me see what
it looks h"ke," and they both became absorbed in the drawing
of the star.

Three weeks hater when Miss Gray's Camp Fire met for
the first council in her room, they were fascinated. Their
Guardian met them at the door in her ceremonial dress,
and it was the first time they had seen her head-band with
the star like a glowing ember in its center. In the windows
hung sheer curtains with a narrow stenciled border worked
from Helen's suggestion. On the divan was a new balsam
pillow decorated with Miss Henry's symbol of the fire-giving
sun, shot with stitches of bright embroidery silk. A book
opened on the table showed a beautiful book plate wood-
blocked on the fly-leaf with Miss Gray's symbol, and the
Camp Fire Manual had a leather cover with cut design.
Behind the screen hung dainty towels with cross-stitched stars
in blue. The girls reveled in the artistic harmony of the
room, and asked eagerly how they, too, could use their sym-
bols in similar ways. When their curiosity was satisfied, Miss
Gray introduced the pale little girl from the Arts and Crafts
shop, telling how she had helped her in her search for the
elusive symbol, which had finally been woven into her bead-
band. She told about her advertising, too, and the responses
of Miss Henry and Helen, which had enabled her to find
the different interpretations for her symbol.

"My creed shall be ADVERTISE, spelled in capitals, from
this time on," she said laughingly. "But I'm glad I saw this
girl in the store, for she is going to join our Camp Fire circle,
and will help us revive the 'lost art of symbolism.' Let's
sing a cheer to Muriel as a member of our Camp Fire."

The response warmed the heart of the pale little girl, so
that her face reflected the rosy light of the fire.

87

SUITABLE DECORATIONS FOR
CAMP FIRE C05TUMES

(Reprinted from Wohelo)

Every decoration on this costume has a meaning. We are
sorry that it cannot be reproduced in color.

The blue and green embroidery around the neck means
the different rivers and lakes and oceans the owner knows
and is fond of; the edge of white beads is foam and spray.
The buttons around which the waves are embroidered are
made from wooden button molds one and five-eighths inches
in diameter. They are carved and painted. The one at the
bottom stands for "Seek Beauty," the first law of the Camp
Fire Girls. It is the Egyptian symbol for the eye, and is
painted black on a background of deep robin's egg blue
(a little greener perhaps), which is the color the owner loves
most. The three beads hanging from it mean beauty which
can be seen with the eye, beauty which can be seen by the
mind and beauty which can be seen by the spirit. The next
button toward the right shoulder is "Give Service." Two
hands are painted white on an olive green background. The
W above in blue stands for "Wohelo," and the three Ws
in scarlet below for work, health and love, all meaning
service of every kind, true to "Wohelo," The next button
to the right is "Pursue Knowledge." There are footprints
carved out and painted on a tan colored background, all
leading to the lamp of wisdom. "Be Trustworthy," the
button following, is on a dull green background and represents
Camp Fire Girls running around carrying messages. The
two triangles, the small one above the larger, is the primitive
symbol for woman. It is the symbol used around the border

88

of our magazine and means that all Camp Fire Girls stand
toj^ether, loyal and true. The button on the left shoulder
in scarlet is "Hold on to Health," and represents the Cad-
euseus, the symbol of Alercuy (god of medicine) and the
drawings on either side are the Indian medicine man's symbol.

89

The button below this is "Glorify Work." It represents the
sun with rays pointing to all times of day. Below is "Be
Happy" — birds and flowers representing the symbols of happi-
ness. The black in the center means "be happy" in spite of
misfortune.

A little yoke has been made to fill in the V at the neck and
along the top of it are flowers which sometime this Camp
Fire Girl hopes to have in her garden. Along the bottom of
the costume are deer which have been wood-blocked on pieces
of reddish-brown linen and appliqued on. They symbolize
out-of-door life, especially life in the woods. They are joined
together by strings of beads — sunshiny and rainy days, and
crossed logs with three beads around each of work, health
and love.

The three thongs lacing the skirt on the right are her
three brothers, and the three on the left are her mother and
father and herself. The string of pottery beads hanging
from the front of the costume are made to represent a three
days' canoe trip.

We hope that it soon will be said of each Camp Fire Girl's
costume that

"Each figure had its meaning,
Each some magic song suggested."

Then it will become a work of art. If it is hastily made
and trimmed without thought, it will quickly lose its signi-
ficance and will be cast aside and forgotten.

90

BE HAPPY

These are the designs on the button molds, representing the
seven points of the Law. They are arranged in the Wohelo
triangle. The complete design can be used on the back of
the costume. Tlie best spacing for it is between the shoulders.

91

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INDIAN 5YMBOI.ISM APPLIED
TO GIRLS' HANDICRAFTS

By Elaine Goodale Eastman

(Reprinted from Wohelo)

All Indian art work is symbolic, and the decorative native
designs may be so applied in bead-work, basketry, weaving,
embroidery, or jewelry as to express the ideals and personality
of the maker. This is true of all the tribes, but the individual
symbols vary with their customs and habitat.

In most genuine Sioux handiwork, the central design is
the isosceles triangle, (Fig. i) representing the conical teepee,
or tent — the home. This is used in many different ways.
Two tents with the bases united, forming a diamond, (Fig. 2)

92

indicates the four points of the compass, or the whole uorhl.
Two tents with the peaks together, (Fig. 3) is a symbolic
of life here and hereafter. The dark tent cut in half with
a band of white, yellow or light blue, in the center, (Fig. 4)
signifies happi/ess in the home. The tent enclosed in a
circle, (Fig. 5) means eternal union.

Fig. 6 is commonly used to represent foot-prints or man's
trail through the world. The zig-zag line, (Fig. 7) means
lightning, or destruction; the w^avy line, (Fig. 8) mountains,
or prayer.

In the symbolism of colors, pale blue or white is generally
used for background, and represents sky, or heaven; red,
life; dark blue or black, 'hadow, or trouble; green, summer,
or prosperity; and yellow, sunlight, or happiress. Dark
blue, dovetailed with pale blue or yellow, represents the light
and shade of life's common experience.

Animal figures are much used in conventionalized designs.
The figure of the bear means courage; the buffalo, plenty;
the eagle, (wing spread), honor; the owls, observation; the
wolf, skill; the turtle, wisdom and longevity; the serpent,
healing; the hawk, swiftness; the beaver, industry; the deer,
love. The figure of a man on horseback represents a warrior.

No Indian girl may wear the skin of any representation
of the bear, wolf, or cat, nor wear the feathers of the eagle,
since these are masculine emblems. The doe, ermine, otter
and mink are feminine emblems.

It is usually possible to distinguish feminine from masculine
personal names by the meaning. The names of the fiercer
wild animals, such as bear, wolf and eagle, are given to
boys; girls are called after the fawn, mink, beaver, etc.
Either may be called after sky, wind or water, but the name
of Fire is masculine. The syllable "wee" is a feminine
termination. "Na" is a diminutive, used much like "ie" in
English.

< The following nhe, ;$iou?{ ferfii^lin^ p^rnos appropriate to
"Camp Fire Girls,*' with tlleir Ht^ri^l, ^nd i^-imbolic meanings:

Wee-no-nah, Eldest Daughter : Loaf-giver, charitable.
Wee-hah-kay-dah, Youngest Daughter: Little One.
War-hah-wash-tay, Pretty Flower: Beautiful.
O-jin-jint-kah, Rose: Queen of Flowers.
Zit-kah-lah-skah, White Bird: Pure.
Do-wan-he-wee, Singing Voice.
Wa-chee-we, Dancing Girl.
Han-tav-wee, Cedar Maid: Faithful.

Wa-zee-me-nah-wee, Odors of the Pine: Wholesome, refresh-
ing.
Mah-kah-wee, Earth Maiden: Generous, motherly.
Mah-pee-yah, Sky: Heavenly.
E-ha-wee, Laughing Maid.
Wee-ko, Pretty Girl.

Ptay-san-wee, White Bufifalo: Queen of the Herd.
Mah-gah-skah-wee, Swan Maiden: Graceful.
Wah-su-lah, Little Hail-storm: Stormy, impulsive.
Snah-nah, Jingles, (like little bells) Musical.
Ta-lu-tah, Scarlet: Brilliant.
Ta-tee-yo-pah, Her Door: Happy Hostess.
Wee-tash-nah, Virgin: Untouched.
Tak-cha-wee, Doe: Loving.
Chah-pah-wee, Beaver: Industrious.
An-pay-too, Day: Radium.
Wik-mun-kee-wee, Rainbow : Return of Blessing.

An Indian girl's gifts of her own handiwork to her kinsmen
are highly prized, and the girl herself takes much pride in
the handsome appearance of brothers and cousins. A pair of
richly embroidered moccasons is presented to the betrothed,
and a complete suit of buckskin to the bridegroom by his
bride.

Each band of Camp Fire Girls might select an Indian crest,
or totem, and eag:h .girl, »be?- ;persQn?il emblem, appropriate to
her name or taste^,[t&'/Ka^k her (nt}iviaii;ti belongings.